While Fahrenheit451 obviously receives a considerable lot of the methods of postmodernistfiction as depicted by McHale, in the meantime, Bradbury’s novel, similar toPlayer Piano, additionally meets the criteria Tom Moylan has recognized asdescribing tragic fiction.
As already noted, as per Moylan, the characterizingnormal for tragic fiction is its portrayal of the social, political, andfinancial structure of a world parallel to the creator’s contemporary world,yet a world in which one component of the contemporary world has beenoverstated to an unreasonable stage. This corruption ends up noticeably clearthrough the experience of one individual living inside the parallel world, andfor the situation of Fahrenheit 451, that individual is Guy Montag. Along theselines, Bradbury’s oppressed world has a significantly smaller vision than Vonnegut’s.
While Vonnegut utilizes the Shah of Bratpuhr to give a viewpoint other optionto his focal character, Paul Proteus, Bradbury never withdraws from Montag asperspective character, and through Montag’s encounters, the peruser all themore completely comprehends the threats of the world depicted in the novel, andthus the parallel threats of his or her contemporary world. Moreover, Moylanclarifies that tragic fiction opens in media with the peruser drenched insidethe life of the perspective character, and, Moylan contends, the story createsthrough the disclosure of inconsistencies inside the framework, all of whichpoint to the real worry of tragic fiction: ?the control of language? and ?themultiplication of meaning? (149). Bradbury’s novel, maybe more so thanVonnegut’s, frets about authority systems that guarantee this control ofdialect and multiplication of authoritatively approved? meaning.
Aconsciousness of the association between the control of social talk and thecontrol of people in general’s convictions and activities swarms Bradbury’scontent: the most clear sanctioning of this control is the authorityrestriction of books, yet the consolation of thoughtless diversion through thepervasiveness of divider TVs additionally intensely influences the mentality ofthe nationals of Bradbury’s world.Be that as itmay, the promoting business in Bradbury’s book applies control of people ingeneral’s activities through its capacity to catch and keep up the generalpopulation’s consideration what’s more, through its messages’ promptlyavailable and absorbable shape. The inescapability of commercials in this worldand their unobtrusive, yet effective, impact on the residents of this world arebest spoken to by the jingle for Denham’s Dentifrice that, attempt as Montagmight, he can’t dodge or overlook. Fundamentally, in the meantime as Bradburyrecognizes such controls of the general population’s shared talk by thepromoting business and challenges their inferred messages, Bradbury takes aninterest in a similar sign control he is by all accounts scrutinizing. Ratherthan offering contemplated contentions that shed light on the verifiableconditions essential for shopper private enterprise to sustain itself, inFahrenheit 451. Bradbury offers enthusiastic interests,utilizing juxtaposition and reframing to infer the conclusions he trusts hisperusers will draw. Three scenes in Fahrenheit 451 especially embody Bradbury’sutilization of reframing systems, similar methods depended on so intensely by thecutting edge promoting industry. the opening scene, the restorative save scene,and the book-burner saint scene.
In the opening scene, Bradbury depicts Montagas toeing the foundation line; in the later two scenes, Bradbury effectivelyreframes the pictures utilized as a part of this opening scene to offer anelective viewpoint on life in his anecdotal world and to remark on theparallels that world offers with contemporary America. Bradbury’s reframing ofthese pictures inside these scenes mirrors the impact of postmodern spatialrationale on his parody. The book opens with Montag in full fire fighteractivity. He is making the most of his activity and is completely responsiblefor his fire gear, and thus the circumstance. This experience brings him delighta depiction rehashed by the storyteller for accentuation. This delight originates from Montag’s holding?the metal spout in his clench hands (3). This extraordinary python, as thestoryteller portrays Montag’s fire hose, drenches the banned books with lampfuel, what’s more, as it does as such, Montag feels the ?python’s energyexchanged to him as the administrator: ?The blood beat in his mind, and hishands were the hands of some stunning director playing every one of theorchestras of blasting and torching to bring the worn spots furthermore,charcoal remnants of history (3).
In this scene, the machine picture recommendscontrol and magnificence; in Mildred’s endeavored suicide scene just ten shortpages later, it proposes, rather, loss of control and grotesqueness. The twomachines, Montag’s fire hose and the surgeons’ stomach-pump are depicted assnake-prefer: the fire house as a python, and the stomach-pump as a cobra.While the two snakes decided for these affiliations are savage, their relationshipto Montag is the thing that recognizes their import in their particular scenes.In the main, Montag is holding the hose, releasing pulverization on objects. Inthe second, the doctors, who appear to be particularly unfeeling, hold thehose, and however they are helping Mildred, the picture of this ?help? isespecially frightful: ?They had this machine. They had two machines, truly. One of them sliddown into your stomach like a dark cobra down a reverberating admirably searching for all the old water and the oldfashioned accumulated there.
It drank up the green issue that streamed to thebest in a moderate boil? (14). The distinction between the two scenes isMontag’s level of control: in the main, he holds the machine, he decides itscourse of activity; in the second, he stands separated from the machine, itfollows up on another person’s charge. Furthermore, the apathy of the machineadministrators, especially discernible in light of Montag’s frenzy, underminesthe book’s underlying proposal that machines are dependably gainful.